I am atheist/agnostic depending on the day. I have a friend who used to believe the same thing, but recently went back to Christianity (non denominational) .
Before she reconverted, we had to take a break in our friendship because of some dumb drama and just growing apart. During the time we were apart, she went through several traumatic experiences that honestly make sense why she would need the community and support that can be hard for some people to find outside of church. I used to be super religious so I kinda get it. On the opposite end, I got deeper into deconstructing because of some of my own religious trauma after leaving Christianity.
Eventually we reconnected and in our conversations now she nearly constantly adds in references to the bible and living “holy”. In my opinion, it’s very hypocritical because we still do all the same shit that we did before (drugs, gossiping, talking about our premarital sexcapades etc). I told her that the religious stuff makes me uncomfortable, and I detailed the trauma I endured but she just didn’t stop so we haven’t spoken since a semi-heated discussion last month.
We don’t live close to each other and don’t see each other (3-4hr one way by car) unless I put in the effort to maintain the friendship. Should I feel bad about just letting our friendship fade away again because I don’t want to hear “what the bible has to say”? She recently made a post on social media that she is going through a rough patch in life again and is “leaning on god”. The human in me wants to reach out and be supportive of my friend but I can’t help but wonder if she would do the same for me. If the roles were reversed, I don’t know if she would be reaching out to support me even if it meant enduring the uncomfortable moments that come with conflicting beliefs.
Should I suck it up, reach out and see how it goes? I don’t want to throw away a 10 year friendship, but I don’t want to have to bite my tongue or gear up for a passive aggressive argument every time we talk.
I also don’t know how much she would value support from me when Christians tend to want support/friendship from people that have the same beliefs. It makes sense because as an atheist the last thing I want in a low moment is prayer or a Bible verse. A part of me feels like I’m a throwaway friend in her eyes because we don’t connect in this way. Or maybe I’m the hypocrite for coming to Reddit to talk with strangers about if I should keep her as a friend… but I’m just being real.

Hello! As far as I know, our main enemy is a state. Some people vote for the complete dissolving of the state. Let's suppose there is such a state where its role is minimized as much as possible (or it even doesn't exist anymore). Everyone has freedom to make money how the person wants - considering it doesn't violate the rights of another ones. One day there will be big enough companies (for example - Google or Amazon, as a reference) that they will have enough money to have some sort of a control over a part of the society - I mean they could spend money to propagate and advertise an idea that everyone should wear only blue shirts.
Don't those companies become the government itself? The main question here I cannot understand - how can I say that this person is a citizen and this one is a part of a system? Seems like this line is pretty vague. At which point a human group (a business company, a church, a group of people that want to wear only blue shirts) transforms from civil society to a government?
They only answer I can think of - government is what have a power and violence over a group of people. But then, mafia is also a state, as well as a murderer (since he has a power over a few people that he can kill)

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NOTE: the registration link is an invite (completely free) to our community where we host all our events - it takes 1 minute to sign up and as soon as you are in you will be redirected to sign up to this specific event. You can then join all future events as well from there. **
In this event, the speakers will present a technical deep dive of World ID, a "human passport for the internet" built as an open protocol. Part of the Worldcoin project, World ID lets you prove you’re a unique human online while keeping your identity private.
Below are the speakers: • Christian Brendel: Head of AI at Tools for Humanity • Massimiliano Patacchiola: Senior AI Research Engineer at Tools for Humanity
The event will consist of a 40 minute presentation followed by 20 minutes of networking and open discussion.

Brace yourself, it's a long one.
We have had a bit of a horror week and hope the information may be useful to others. I guess this is also a bit of a cathartic AITA for us as well.
We hired our 18-year-old German au pair privately through an NZ Facebook group. She was in the last month of a long trip here, but her last family could not afford to pay her any more. We put her straight on a salary with our company, gave her a near-new nice car to drive, and even allowed her boyfriend to stay and fed him for over a week.
When we hired her, we insisted on a contract and included an instant dismissal clause for 'gross negligence' - we were glad we did.
She did an okay job. Looking after one four-year-old for around three to four hours a day and a few extra days by arrangement, she would turn up at the exact minute expected and stop working the minute scheduled. She didn't assist with things like cooking, other than one night, or with dishes after she or her boyfriend ate with us. But it's hard to complain about that as it was not like we enforced that as part of the remit.
Anyway, we get to the last week and allow her time off (after having spent the weekend away) to drop her boyfriend at the airport. She arrives back at the absolute last minute and bundles our daughter out the door quickly to go to the park via a local book-sharing room. A bit over an hour later, they rush back in, with the au pair upset and my daughter a bit concerned that a lady had been mean to the au pair. From this point, the stories start changing.
First version: The au pair says she got a call from her mum with some bad news and went to the car, parked around 10 meters away and in complete view of the playground, to take the call so our daughter wouldn't see her upset. She says she was there for three minutes before an angry mum comes up with Maeve, telling her off for leaving her alone, and taking a picture of the car. Having been told the 'bad news', I jump in my vehicle with the au pair to find the woman to give her a telling-off for being so mean to a young lady in a bad situation. Thankfully, we don't find her.
Through the wonder of social media, the mother does, however, find us and her story is rather different from the au pair's:
Second version: The mother tells us our daughter was on her own for 'quite some time', estimated to be at least ten minutes. This park is next door to a competition-standard skate park with some pretty hard skating and big drops, and she wandered all the way over there. There are some details I will skip, but she slowly made her way back to the playground (thankfully not the other way to the major highway) and played more (unfortunately including peeing herself on the slide), approaching other children and parents, and finally latching on to another mother trying to deal with her three kids.
That is when she asked our daughter where her parents were. Our daughter said she was there with her au pair, and after a while, the mother managed to find her where she explained to her the situation just wasn't right. The au pair's biggest concern - that she didn't want the mother to tell us as it would 'ruin her last few days in NZ'.
On this news, we confronted the au pair again who did not deny it.
Third version: The au pair now says she went back to the car as she was cold and wanted to put on more clothes. Our daughter had told her she wasn't cold and wanted to keep playing, so she left her as it was only for a few minutes. But indicated she stayed in the car to warm up and her mother called and following this she lost track of time. We checked phone records later and she had made an outgoing call, she wasn't the one called.
At this stage, my wife is incredibly upset, both from the lies, the fears around our daughter being alone, and that this was somehow her failure. I send the au pair back to her quarters, of a mind that if that is it, there will be no more out-of-home trips but she can see out the week.
But it still feels fishy to me, the au pair doesn't seem upset enough for the news she shared. So I contact a representative of the park to check their CCTV. They promise to do so in the morning. And here comes the kicker...
Fourth version: The park management tracked our daughter around the park, separate from our au pair, for AT LEAST 25 minutes. They can't say it wasn't less than that due to blind spots. The woman there is extremely disturbed that it happened considering the nature of the park, and suggests the au pair needs to be gone immediately. I agree.
At this point it is not just the negligence, it is the lies.
I confront the au pair - managing somehow to stay calm - and immediately dismiss her under the gross negligence clause. I tell her to pack, head back to the living area and book secure accommodation (but the cheapest I would send an 18-year-old daughter to) in the city for the six nights till she flies out, a bus ticket, and a taxi to the bus. I pay for it all, not wanting any comeback and still treating her as human and someone's daughter, even if she didn't extend us the same courtesy.
No apologies, no arguments, but there is a postscript.
The car she was using is, like most new cars, surrounded by cameras. There is even one that records on a small rolling memory in case of accidents, but when the car is off it is off. Her and her boyfriend clearly had panicked, thinking the video evidence we got the timeline from was from the car, and she was upset she didn't know the cameras were recording (they weren't, and can't) as they took the car camping on the weekend. I wonder if the concern came down to the condom wrapper we found in the back seat where my daughter sits, lol!
Anyway, our new, older, more mature Japanese au pair arrives on the weekend. We haven't let this deter us from what should be a great process. Just make sure you can terminate contracts and have an exit plan in place. And don't rush off to confront Karens without all the details.

Hey there. New to this so please go easy on me ha.
A little about me. I’m a very open person and like to think I have a healthy amount of life experience. I take things seriously but I try to find the light in everything. I like talking about people’s passions as well as my own. I’m very into the human experience. Open minded and non judgmental. I can be an open book one on one. I’m very into music (previous drummesinger at one point in time), got some tattoos, I like to pick heavy stuff up an put it down, I like to think my sense of humor is above par. I do what makes me feel valued professionally. And more!
Couple months ago I ended a long relationship. I’m starting to realize how much of myself I let go in those years. I’m getting back to myself and it feels good. But part of me is starting to see how much I’ve isolated myself.
That being said I’m looking to connect. Wether that’s a friendship and seeing where it goes or more. Location doesn’t matter to me.
I’m not too keen on putting too much personal information on open platforms. More than willing to verify realness and trading pics.

TRIGGER WARNING: suicidal ideation
(i just needed to rant i don’t expect anyone to read my incoherent nonsense. i just need it off my chest. and disclaimer i am in the process of getting help it’s just taking time. i’ll live im sure but i feel so horrible i needed to say something to anyone)
holy fucking shit that fact i’m not dead is a crime. i’m such a horrible fucking friend and person and i just hate myself and everything i do. the second i open my mouth i want to die. i’m over this shit. no one takes me seriously in the slightest and i see why; im a fucking joke of a human being. i deserve nothing in this life and no matter how hard i feel like im trying i fail in every goddamn way in every aspect. i take ever criticism about me as gospel and tonight while drinking with siblings we started talking mental health issues. my brother talked about addiction and my sister a rape and i what… feel bad. it’s bullshit and i have no right so say anything because i don’t have that shit going on; i just feel shitty. and i fucking hate it. sometimes i wish so bad that my partner will leave me and move out of our apartment just so i can end it without the guilt. i couldn’t handle knowing i traumatized her like that and a part of me is wishing her to leave just so i have an excuse to tap out. i found out tonight what a horrible shitty person i am. everyone of my sisters friends fucking hate me and they have the right because i am a shitty sister. i just don’t have the capacity to be good all the time and i fail her constantly. i had the audacity to ignore her relationship and think of her partner as a friend and say i was jealous of their how her tits defy gravity and now knowing that i made them uncomfortable i feel like a prick. i want to SH so fucking bad but i no means to do so rn. just fuck man i’ve thought it out a million times- strangle my self in the office while my partners at work and leave a note on the closed door of what i did and to call 911 just so she wouldn’t have to see and fuck the urge just grows. i deserve nothing i have and im a lazy whiner who so genuinely, and i cannot stress this enough, doest deserve to live any longer. a decade of this shit and that first failed attempt is my biggest regret. when the time comes i promise myself i’ll do it right because i can’t do so this any more im sick of being a joke

Jenova = Megamycete (came from space, can copy dna, mutates the creatures it infects, creates a hive mind)
Sephiroth = Eveline (human fetuses injected with Jenova/Megamycete, raised as living weapons, controls the minds of others who are infected, has a mad scientist for a parent)
Hojo = Miranda (obsessive, psychopath, obsessed with their child without genuine love, mad scientist, destroyed a village for their experiments)
Jenova = Miranda (shapeshifter, manipulator)
Sephiroth = Miranda (leads a cult, wants to be a god)
Cloud = Ethan (thought he was a Sephiroth clone = mold copy of Ethan)
Sephiroth = Wesker (part of a project to create superhumans, doesn’t know their origins, worked for evil megacorporations, were stabbed but came back from the dead, were gone for years before reappearing, plan to destroy the world to recreate it in their image, god complexes, hates their archenemy who was a former subordinate (Cloud, Chris), long black leather coat)
Don Corneo = Brian Irons (unalives women, rapists, a powerful local figure, allied with the evil megacorporation)

Spoilers ahead…
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.

For the past few months, I've wanted to change my job, because I couldn't “grow” in my current one. It hasn't been easy; many companies either didn't respond at all or I received automated replies. Sometimes I had interviews, but then all contact stopped, or they ultimately chose another candidate. It wore me down, making me feel like there was something wrong with me, even though I'm only 21. The only person who lifted me up and genuinely helped me was my husband. He helped me improve my CV, talked about things that could benefit me, did mock interviews with me, and cheered me on after every CV I sent out. It was mainly thanks to him that I didn't give up and changed my mindset about it not being my fault.
I found a company that was very interested in hiring me. I went through their entire recruitment process, and yesterday they called me to say they want to start working with me. Moreover, it's the offer I liked the most, related to my field of study, and I'll be the only person in my year already working in the profession. I was literally jumping for joy like a little child, extremely proud of myself, just like my husband, who didn't take any credit for himself. Even though I thanked him probably a million times, every time I heard that it was solely thanks to me and that I should thank myself.
The joy lasted until I called my mom. Initially, she said she was happy for me and congratulated me, but then the conversation quickly took a turn. She started asking me if I planned to pursue a master's degree after my bachelor's (she brings this up regularly every few months; her attitude towards my education and career was the beginning of all our problems and my current life difficulties). She wants me to have that title so she could boast about it among her friends and convince herself how wonderfully she raised me, that I achieve such successes. Here we come to the worst part for me. Even though she didn't have even 1% of a share in my job change, she said she was proud of herself. OF HERSELF. Surprised, I asked "why?" and in response, I heard (more or less, I don't remember exactly because of nerves) that she's proud of herself because she raised me and now I'm succeeding in life, so her methods weren't that bad. She labeled the harm she caused me with constant arguments and bans when I got a grade other than what she thought I should, as mistakes, and again attributed credit to herself.
I'm just sad. For the past 2 years, I've worked hard to start living my own life. I moved, changed jobs twice, changed my studies, started a second therapy, I'm finally happy, and yet it's not acknowledged, and there's always something that could have been done bettedifferently. I know that for her, any method other than her own is not good enough, but does it really require so much just to sincerely congratulate someone, someone who you say you love and are proud of?

I've recently started making a conlang spoken by a group of people numbering about 10-20 000, living on a small temperate island surrounded by ocean for thousands of miles. Their mythology talks about them being the last living humans, the rest of the world's land having been submerged hundreds or thousands of years ago.
My question is how would their isolation and their small size influence their language and culture? Two things occurred to me, both the result of a lack of international trade. On the one hand, there would be no loanwords from foreign languages. On the other hand, since there is no trade, everything is produced locally, especially the food, which would in my mind reduce the class division, particularly in such a small society since the farmers would have more of a political sway.
I'd like to know your ideas on the subject or any further reading you could recommend. Do we have any attested real-world examples of hundreds or thousands of years of cultural and linguistic isolation and how it shaped that society?
I realize this question may be more appropriate for worldbuilding, but I'm just as interested in the linguistic part as in the cultural one.

Weed withdrawals have been really tough and affecting my sleep so I've been journalling into the late nights. Posting what I wrote tonight here felt appropriate, in case anyone else can relate. I am incredibly sleep deprived so forgive the rambling.
I've been relapsing since December 2023, right before picking up my 9 months. Being back the past couple of weeks has been so beautiful and profound, despite the really difficult physiological parts of withdrawal. I've probably been in and out dozens of times at this point over the past 2 years and coming back in this time felt harder. I think part of it is the shame of coming back after finally "getting it", but everyone has been so kind, and reconnecting with some fellows I lost touch with has been so helpful in remembering why I'm doing this. At my first meeting back in my home group, I got really emotional seeing people who were newcomers when I last saw them be completely different people. It's the proof that I needed that this shit really works.
I've been painting again and drawing a lot with my friends, with feels really nurturing. I wasn't able to make work while I got stoned, and I would beat myself up because I felt like a failed artist. Today I ended up at the same thing with this artist I really admire and I introduced myself and it was really cool to just joke around with him like a normal person instead of being paranoid and awkward. I think weed addiction has a way of making me feel less human. Like the parts of me that are curious, and interesting, and charming, and want to learn more about the world are suppressed when I smoke. It makes me want to exist in a cocoon of comfort.
I think a lot of what kept me from coming back earlier was being scared to exist in the sober world again. The drug has a way of tricking you into thinking you need it - first to have fun, than to relax, than to eat, sleep and exist. I thought it was helping manage my OCD symptoms, but I've noticed a remarkable drop in my intrusive thoughts/patterns. I also went through a breakup a couple months ago, and I was afraid that my feelings would be unmanageable after I stopped. It was surprisingly the opposite. I think the past couple of weeks have been really healing. They drunk messaged me a few days ago being like "fuck you" basically and I was surprised at how little it affected me after the initial shock and hurt. I just said a prayer for them to my HP, which helped me understand that I can't control anything about this situation except my reaction. It's really cool to not "have to" use over things that would have felt really painful if I wasn't sober.
I think it's true when they say you don't lose what you learn after a relapse. I have been in recovery for almost 2 years at this point - day count aside, I can FEEL the difference. Coming back this time, Im a lot more gentler in the way I speak to myself, but a LOT more focused, wiser, trusting the process. Last time around I jumped into the aforementioned relationship, when I was fighting to string together a few weeks. It was very messy. I'm reminded by what an old-timer warned me when I started going out with them - "you attract people who are as well as you are."
I met this girl in my relapse who is genuinely probably one of the most beautiful people I've seen irl and we started seeing each other in the tail end of it. I think my radio-silence when I use has her thinking I'm cool and aloof. As soon as I stopped using I realized I was using her to feel less lonely and it also felt really good to the ego to be with someone so cool and beautiful. I told her I just need to be friends rn the other day and she was so lovely about it and the conversation went well. I think pre-recovery me would have JUMPED at the chance to be with someone like this, but I genuinely have no desire to be with her rn, which is a foreign feeling. I just know deep down I want to stay on this path and I know being with anyone right now will distract from my recovery, my fellows, my art, my work. I also think she deserves better than to be with someone who is as much of a work in progress as I am. This new kind of intuition, where I can feel and trust that this instinct is correct is very foreign to me. Being in the rooms and doing the work and learning how to spend time with myself by being creative has filled this void I used to fill by dating compulsively. This is the first time in sobriety I've been able to stay single and WANT to, which is an incredibly novel feeling. It's also cool to have fellows and know I can call one if I need one.
I think it's important to remember if you're like me and have been in and out that you do learn something just by being here. Reading the book, actually calling a fellow even if it feels awkward, going to a meeting when you don't want to - those things all are real work that is helping you grow as a human. You may not able to see the changes, and it may not feel like it matches up with your day count. But using doesn't nullify all the work you've done.
Not to say it's been easy - I've also had incredible issues eating enough, and I am barely sleeping - this is the harshest withdrawal I've been through because I smoked so much this time. But I've done this before, and I know all withdrawal symptoms will be gone in a month. I also have experienced some tremendous lows in sobriety before, and I know that I'm prone to this pink-cloudedness every time I come back. However, it's 3AM here and I'm exhausted and loopy and starving (but also nauseous at the same time) and I am still so content and grateful to be sober. It's also important to mention that this was NOWHERE near my life when I first came into the rooms - I was unemployed, not in therapy, didn't have a ton of real friends left. Whenever I relapsed I would beat myself up over and over and I've had some dark, debasing moments. It's just easier to know what to do this time because I've worked with a sponsor before, and I had those friendships in the room I formed previously. I also will say I am very lucky to have health insurance and a job and access to in-person meetings in my city and therapy, which makes my experience in recovery a lot easier than a lot of people. However I have heard stories of people overcoming hell to come back.
Thanks for reading this very rambly post if you've stuck through it. tldr the rooms have given me my life back a hundred times and recovery is a life-long journey. Feel free to PM if you wanna talk further about MA :) Below is a very deep cut 12 step prayer I just learned/my new favorite, called the unity prayer:
I put my heart in yours and together we can do what we could never do alone.
No longer is there a sense of hopelessness.
No longer must we each depend upon our own unsteady willpower.
We are all together now, reaching out our hearts for a power and strength greater than ours; and as we join hearts, we find love and understanding beyond our wildest dreams.
We do recover <3

recently I've been on a few "dates" with someone and it's left me feeling broken. I mean I don't know what I expected lol, but still. they were obviously waiting for me to make a move, and I felt guilty in knowing that that moment was never going to arrive. sitting together on their couch, they began to realize the presence of the unbreakable invisible wall between us. all that apparent confidence and desire I had shown before was slowly fading into the reality of an unreachable other. when I rested my head on their shoulder, I felt their heartrate and breathing increase while mine failed to react. when the movie ended, I said my goodbyes and left. as I walked out, I felt like I was watching myself from the 3rd person. like the ending of my own sad movie. I wished I could stay, but I had to leave. it was what had to happen next in our story. and it should be over between us now, because this is how I hurt people. in my car, before turning the key, I took a breath and held a silent funeral in my head for the killing of another human connection. they'll never understand why it had to happen this way, for their own good. because they're trying to connect with someone who isn't there. and the weirdest part is that I genuinely liked them, or at least I thought I did. earlier that morning, I had masturbated to the fantasy of having sex with them. and it was beautiful. I closed my eyes and hugged a pillow on my bed and imagined it was them. the warmth I felt lying there was more real than our relationship.

I got bit by a stray dog in late February. My dog charged it and I broke up the fight. It didn’t mean to bite me.
It’s unconfirmed if the dog was infected but it seemed to be healthy days and weeks after the bite. it lives on my moms ranch and roams around the rural area.
I went to the ER within an hour of getting bit I think. I was pretty panicked. I overheard the nurses saying stuff like “how tf do you treat rabies? what do we do?” -stuff like that through the curtain. I honestly thought I was completely fucked.
Luckily the doctor knew what he was doing. I got 3 hemoglobin something shots in the puncture wounds. then a tetanus and a rabies vaccine in each limb. I had to go back 3 times for follow up rabies vaccines as well. 19 THOUSAND FUCKING DOLLARS BTW
I have pretty bad health anxiety even since I was a kid. I am freaked the fuck out. Anytime I feel a strange sensation in my body I overthink the fuck out of it.
I’m worried that the virus is setting in. I’ve been having these like millisecond moments of dizziness randomly throughout the day. super brief bouts of nausea and prickly feelings in random parts of my body. mostly hands and feet. there’s this weird headache feeling I get where it feels like it moves around different parts of my skull a little. all super brief symptoms of something and they are super random. this weird sensation in my neck too. almost a tightness. I wouldn’t explain any of this as painful. but if it gets worse i’ll know im dead.
no two of them happen at the same time. it’s not constant or anything. just strange and definitely something I hope I am overthinking. i’m scared.
The dog couldn’t be infected right? there’s no way I have rabies right? I did everything I could right? will I die at 19 from fucking rabies in Austin Texas? I thought this didn’t happen.
This disease is fucking horrifying. you might not have symptoms for up to a year. whether or not you do. you’re already dead. there is NO cure. god help my soul

I have two Etsy stores, one is a handmade store that gives me a decent income, one is a supply store that used to be a good income but I've really, really neglected because my other store has taken priority. Basically as I grew my handmade store I opened wholesale accounts, and I used those wholesale accounts to also buy supplies to sell in my supply store.
I started my handmade store because I was already making items on commission in my community, and I needed an easy way to handle communications and sales. Since the end of 2017 I've grown year on year, and I'm now at the stage where I'm considering reducing my hours in my day job because I really would like more of a social life!
I wanted to post to talk about my experiences between the two shops.
My handmade store sells to a niche community of probably about ten thousand people in the UK. Some gurus will tell you that's too small to base a business on, but honestly it isn't. If you can discover a niche with an engaged community who all want to spend (decent) money on their hobby then it's more than possible. I am also a part of that community, and I can regularly be found being a part of the hobby (not just attending events to sell to participants).
In six or so years, and around 600 packages sent Royal Mail, I've had one parcel be reported missing in my handmade store. That was an international sale to Belgium.
By contrast my supply shop I've sent out about 550 packages by Royal Mail in three years. My supply shop is a much broader niche (it's a fabric store). I don't know my community, I'm just another face in a vast global hobby. I regularly have people report that their package hasn't arrived. I use the same packaging, the same labels, the same Royal Mail services, the same Post Office as my other business. The only difference is that I am in my community as a handmade seller, but not as a supply seller.
The marketing is different too.
For my handmade store I post sporadically on Instagram. That's basically my entire marketing strategy. But my community do my marketing for me. They tell each other about the amazing thing they bought, they show it off, they post pictures about it, they recommend me on Facebook posts. They come back too - a chunk of my buyers come back to me at least once a year. Often they order one thing, and then come back with a group order for ten or twenty more.
By contrast, I made good sales in my supply store when I was actively marketing my products. I spent a lot of time learning about social media marketing and how best to do it for my business. It was labour intensive. Nobody was referring me to their friends. Nobody was talking about me online. On top of that, the profit margins were low and it all just barely felt worth it.
Anyway, I'm not dissing supply stores, or POD, or anything like that. I'm just saying that if you're trying to work out your niche then maybe look at your own communities that you're in first. If you have a great product that your community wants, they'll do most of the hard (and boring) work for you.

(continuation of part 2)
III. e) The Mobius FF x FFVII collaboration
Alright, back to our suspension world-hopping! Let’s visit the realm of Mobius FF, —more specifically, the collaboration between Mobius FF and FFVII—, where I found the most substantial evidence for my theory.
In case you’re unfamiliar with the Mobius FF (MFF) world and games, let’s begin with a bit of a summary of the parts relevant to us. The story takes place in a world called Palamecia, to which people from other worlds are inexplicably summoned. The vast majority of those who are brought there don’t remember anything from their worlds of origin or their lives before Palamecia except their names: these amnesiac people are called Blanks. The main character is Wol, accompanied by a guiding fairy of Palamecia named Echo. Echo knows a lot about the mechanisms of Palamecia, as she’s tied to the realm. The leader of this world is Vox, a being who manifests only as a voice. The first thing all Blanks remember before they wake in Palamecia is Vox telling them the rules of the realm. Incidentally, the crystals of the MFF world are teleportation crystals.
III. e) i. Devs’ Statements
Let’s review some of the MFF x FFVII Remake collaboration devs’ statements before diving into its story.
For both the MFF x FFVII Remake collaboration and the Remake project, Kitase took on the role of producer while Nojima supervised the screenplay and wrote the scenario. The project leader was none other than the Remake trilogy’s Hamaguchi, who told a SE interviewer the following:

“We would love for you to play the [MFF x FFVII] collaboration event as you look forward to [Remake’s] release” (“Celebration of the Overseas Release of the Steam Version and FINAL FANTASY VII REMAKE Collaboration Event”, Square Enix).

He later hints at the collaboration’s storyline:

“This collaboration is focused on Cloud, so the other characters will not make an appearance. Players will join Cloud, who has gone astray in Palamecia, on his adventures and see how the story unfolds based on his decisions. Content-wise, FINAL FANTASY VII fans will surely become fraught with emotion as events unfold in-game (laughs).”

Kitase concurs on the emotional aspect of the collaboration in the same interview:

“When it comes to the story, I seek two things– ‘mystery’ and ‘[…] emotional impact’.”

Clearly, fans of FFVII are supposed to react emotionally to the events of the collaboration. With these statements in mind to give us perspective, we can get into the plot points relevant to our analysis. MFF x FFVII Remake comes in two parts, the relevant plot points of which I will describe and analyze one at a time.
III. e) ii. Eclipse Contact
1) Fact-Finding
Part one of the MFF x FFVII Remake collaboration event is called Eclipse Contact. It came out in 2017 on Aerith’s birthday, February 7th, and its release campaign ran until March. In Eclipse Contact, Palamecia welcomes someone new: Cloud Strife appears in the realm with very little recollection of his core world of FFVII.
Cloud isn’t a Blank, since he recalls the mako reactors in Midgar upon his arrival in Palamecia, and also remembers that he was hired by Avalanche to blow them up:

“Echo: How did you end up in Palamecia?

Cloud: I… That day... I remember now. A job. I had taken a job. I was hired muscle protecting clients. They wanted to stop the reactor... We used a train to get past security... Was it at night? Something happened... Next thing I knew, I was floating through darkness. Then [I woke up here]”.

This piece of dialogue reveals that Eclipse Contact Cloud’s memories end at the very moment when Avalanche arrives at reactor 1 in OG (disk 1, chapter 1): the very beginning of the game. Consequently, Cloud does not remember anything that happened from the beginning of the OG timeline onwards.
Wol and Echo are intrigued by Cloud’s strange case: non-Blanks rarely arrive in Palamecia. The following text appears on the screen shortly after they meet:

“Perhaps he is not truly who he thinks he is.
Perhaps everything is illusory, a dream.
Only one thing is certain, that he must press on, one step at a time, toward the light that shines from the promised land.”

Just like he did in FFT’s Ivalice, Cloud feels the need to find the Promised Land in MFF x FFVII, despite the fact that he lacks memories of the OG timeline. Though Cloud doesn’t remember anything beyond the train ride to reactor 1, he does remember the Promised Land (at least somewhat). This is odd, given that in OG, Cloud didn’t learn about the Promised Land until several chapters into the game.
Wol and Echo agree to help Cloud figure out why he’s here, since there’s clearly something strange going on with his presence in Palamecia. In fact, Cloud brought Midgar’s mako reactors with him somehow, transplanting them onto the landscape of Palamecia. The group decides to bomb these reactors, following Cloud’s instincts in the hopes that it will jog his memory.
Now for my favorite part. After blowing up another reactor, the group is surprised by the appearance of a crystal. A piano rendition of Aerith’s theme begins. When Wol tries to touch the crystal, something akin to a force field rejects him. When Cloud approaches it, however, the crystal responds to his hand by flashing with light. As it begins to glow, Wol concludes that the crystal is linked to Cloud and Cloud alone. Let’s examine the resulting dialogue:

“Echo: This is the light in your memories. The light of home.

Cloud: Home? But I don’t—

Echo: If you don't remember… then your home is lost to you.

Cloud: Then my memories are gone.

Wol: Do you want to reclaim your past?

Cloud: Not interested... I am what I am now. Not what I was.

Wol: Then tell me… This light. If you can’t remember it, what does it mean to you?

Cloud: It's a warm light... I feel at peace. If this place —home— is as warm and peaceful as this light, then I want to go there.

Echo: You can't go there... Not back to the past.

Cloud: I see.

Echo: But even if you can't go back to the past, you can go forward. If you wish for it strongly enough, the crystal will show you the way. The way to a new world. The way to your Promised Land. […]

Cloud: So... Should [I] take [my] chances and make a wish to this crystal?

Wol: Go ahead. It’s your crystal.

Echo: I should warn you that once you start on this journey, there's no coming back.

Cloud: The past is the past. I want to go to a place where everything is new. I’m ready.“

What follows is a moment I call the wishing scene (13:43-14:34). Cloud closes his eyes and wishes on the crystal. It flashes, and suddenly, rainbow-colored ripples of light appear around it. Aerith’s theme is replaced by a slightly modified version of “Midgar, City of Mako”, the track that plays during the opening cutscene of Remake. You can recreate the modification by listening to “Midgar, City of Mako” from 2:00 to 2:23, then skipping to 3:00 and listening until 3:18. You may recognize the musical motif that kicks off the wishing scene as the Lifestream motif, which has become symbolic of the mysteries of the Remake trilogy, as it often plays during scenes where unexplainable plot deviations from OG occur— more specifically, deviations involving multiverse shenanigans. For instance, it plays during MOTF 4. It also plays in Rebirth after Cloud blocks masamune as Aerith is shown dying anyway.
Cloud disappears with his crystal, after which Echo speaks to Wol about Cloud’s journey:

“Echo: Each person gets the Promised Land they justly deserve, not the one they really need. If you’re a bad person, you go to a bad place. If you expect nothing, you get nothing. Even the journey there makes you look deep within yourself to find out who you really are. Cloud should be facing his own past as we speak. It’s cruel, but necessary. That battle was a long time coming”.

Apparently, at least in the context of this collaboration event, the Promised Land can be a reward or a punishment, depending on which you deserve. Echo explains that Cloud will have to face himself and his past on his way to his Promised Land. This means that the Cloud that appears in Eclipse Contact must next embark on a journey that will confront him with his past, test his mettle, and ultimately lead him to the Promised Land he justly deserves.
III. e) ii. 2) Fact Analysis
There’s a lot of vital information to dig into here, mostly provided by Echo. She claims that the crystal’s light is linked to Cloud’s memories of home; Cloud has to have known this home in the past, as it could not otherwise exist in his memories. MFF Cloud must be a post-OG Cloud. Unfortunately, Echo indicates that whatever Cloud’s home is, he’s lost both it and his memories of it. Despite this, Cloud describes his home as warm and peaceful, concluding that he wishes to find it. Though Cloud can’t return to the past, Echo tells him that if he wishes it strongly enough, the crystal can guide him toward a new world, where his home and his Promised Land exist in the future. The fact that Aerith’s theme is playing all throughout these descriptions of Cloud’s lost home, his Promised Land and the past that he can’t return to makes it extremely obvious that these concepts all point to Aerith. Aerith is Cloud’s lost home. Wherever Aerith is, that’s his Promised Land. The time spent with Aerith before her loss is the past he tragically can’t return to. You might have clocked the similarities between Eclipse Contact’s mention of Cloud’s lost home and DFF’s mention of Cloud’s lost dream: in both these titles, Cloud’s home and dream are equivalent to his Promised Land. It’s confirmed yet again that Aerith is the one Cloud hopes to return to, just like every soul returns to the Lifestream. At this juncture of my research, I was curious as to why the last thing Cloud remembers before waking in Palamecia is the run-up to the Reactor 1 bombing mission in OG (disk 1, chapter 1). This mystery will have to persist for a while longer.
The alarm bells in your head might’ve been triggered by the mention of the wishing scene’s rainbow ripple effects— and rightfully so. This visual cue has sparked passionate debate in the fandom since its appearances in Rebirth, as seen in these pictures:
Zack Choosing To Get A Cure For Cloud, Rebirth Chapter 14; Creating a New World/Timeline
Aerith Pushing Cloud Out of that World/Timeline, Remake Chapter 14
Cloud Blocking Masamune, Rebirth Chapter 14; Creating New World/Timeline
You might have read or heard that this rainbow effect signifies that a character has entered another timeline, created a portal to another timeline, created a new timeline or is being shown different timelines. Indeed, whenever the OG timeline is deviated from in a significant way, this effect appears. The pictures above present multiple examples of these shifting realities.
One might propose that the rainbow ripples in Eclipse Contact and Rebirth are unrelated because of the long period between their respective release dates. This long in-between period indeed makes it likelier that the effect was used without forethought in Eclipse Contact, forgotten over the years, and incidentally reused in Rebirth as a plot-important visual cue with no connection to Eclipse Contact. I’m inclined to disagree since the crystal is specifically described as a vessel that can take Cloud “to a new world” by Echo, which is a bit on the nose. Regardless, it’s plausible that there’s no connection. That is, it would be, if the rainbow effect didn’t show up in Remake too.
When the Whispers are finally defeated in chapter 18 of Remake, a burst of the rainbow ripple effects indicate the emergence of multiple worlds, newly freed from the restrictive clutches of fate (1:16:36-1:16:47). Shortly thereafter, Sephiroth takes Cloud to the Edge of Creation and invites him to join forces with him. Cloud refuses, and Sephiroth says the following:

“Seven seconds till the end. Time enough for you. Perhaps. But what will you do with it? Let's see.”

The question “What will you do with it?” implies that the answer is unknown, meaning Cloud is no longer bound to the OG timeline by fate: many alternate futures lay ahead. Sephiroth is telling Cloud and the audience that now, the mystery of the Remake trilogy has become “Which future will Cloud bring into existence? Which among the infinite possible timelines will his choices result in?” After pondering this aloud, Sephiroth leaves Cloud alone to consider the rainbow effects in the sky (1:19:23-1:19:36). Because they generally represent alternate or changing timelines, it’s safe to assume that the rainbow ripples here represent the myriad of possible worlds that Cloud’s actions in those seven seconds could generate. After all, Sephiroth was just talking about them, and chapter 18’s description in Remake reads as follows:

“In a world beyond, Sephiroth shows Cloud a vision of the planet seven seconds before its demise. Having strayed from the course destiny set for them, they strike out on a path towards an unknown future."

This explains why the player is shown Cloud staring at those colors in the apocalyptic sky at world’s end, directly after hearing Sephiroth’s cryptic words: those are all the alternate “unknown future” timelines ahead of him, now unravelled from fate. Amongst those rainbow ripples lies the answer to the question “What will you do with [the seven seconds]?”
Given that Remake was released in 2020 and Eclipse Contact came out in 2017, the major story elements of the Remake trilogy —including the eventuality of alternate timelines— had to have been planned out at the time of Eclipse Contact’s release: while the MFF x FFVII Remake collaboration was being made, Remake was also in production. Also recall that the collaboration event and the Remake trilogy share a codirector in Hamaguchi, a writer in Nojima and a producer in Kitase. Based on all this, it’s more than likely that the rainbow ripples in the Remake trilogy and inEclipse Contact represent the very same thing: alternate worlds and timelines. All this to say that when the rainbow effect appears around the crystal in the Eclipse Contact, it means the crystal is acting as a vessel to another world, just like Echo said.
But that’s not all Echo said: she also mentioned that this other world would take Cloud to his home, to his Promised Land. We’ve already established what that means for Cloud, what it’s meant since two whole decades at the time of Eclipse Contact’s release: this crystal will take Cloud to Aerith. So, where exactly did the crystal take Cloud? In what world can he meet Aerith again?
The music that plays during the wishing scene gives us a huge hint. As I noted before, the track playing in the background is a slightly modified version of Remake’s “Midgar, City of Mako”, which plays in the introduction cutscene of Remake. This is a musical cue that the ending of Cloud’s journey in Eclipse Contact and the very beginning of the Remake trilogy are closely related. Add the fact that the devs wanted players to experience this collaboration event before playing Remake, and it becomes undeniable: the crystal that appeared to Cloud in Palamecia —which offers to lead him to his home and Promised Land, meaning to Aerith—, took him to the world of the Remaketrilogy.
Eclipse Contact is huge. The whole crux of my theory lives and dies right here. However, we still have part two of the MFF x FFVII Remake collaboration event to analyze as well as its promotions to look into before I can drop the thesis on you, so bear with me in order to receive the most thorough analysis of all this possible! I want to give you every drop of proof I can!
III. e) ii. MFF x FFVII Remake Fatal Calling
1) Fact-Finding
Fatal Calling came out February 1 of 2018, and its release campaign ended in March. The game opens with a cutscene: Cloud is floating, seemingly unconscious, through a sparkling, green current of light. The current flows into a circle of bright, white light, surrounded by rainbow ripple effects as Cloud is driven toward and into it. An orb floats along with him. The Advent Children theme “The Promised Land” plays, a choir of mournful, aching, mutedly desperate souls engaged in a lamenting prayer. Sephiroth’s voice echoes:

“Sephiroth: It’s time. You may turn your back on the past, lock your memories away. Hide reality beneath a layer of illusion. But destiny will not die so easily. Yes. At memory’s end you may plead for it all to go away. But the past is a curse, binding your soul. It’s time. Wake to your fate. Rise to your destiny.

Cloud: (In a half-conscious grunt) Reunion…

Sephiroth: The light will lead you. Wake to your fate. Rise!”

Sephiroth’s mentions of Cloud hiding under an illusion and repressing his memories are no doubt allusions to Cloud’s past, which was complicated and darkened by Hojo’s experiments. It makes sense, then, that Cloud responds with “Reunion”. Fatal Calling indeed focuses on Cloud’s relationship to his past, his identity and Sephiroth. Everything involving Nibelheim —where everything started—, Sephiroth’s manipulation, and Hojo’s experiments are on the table. Also noteworthy if not out of place is Sephiroth’s evocation of fate.
Cloud enters a battle with Sephiroth with the help of Wol and Echo, who are surprised to see him back in Palamecia. Cloud tells them about the orb seen floating along with him in the opening cutscene: though he calls it a materia, he doesn’t know how or when he acquired it. Based on his behavior, it appears that Cloud remembers just as little about the events of OG as he did by the end of Eclipse Contact. Wol informs Cloud that whoever he heard speaking to him on his way here was probably Vox pretending to be Sephiroth.
As the group advances, Cloud recalls Midgar and decides they should go there next. At one of Midgar’s mako reactors, the group encounters Sephiroth, who speaks to himself:

“It's still not enough. This... this is but a pale imitation of the power I desire.”

Once Sephiroth has disappeared, Cloud explains what he remembers: Sephiroth was the greatest SOLDIER of all and a hero to Cloud, though Cloud can’t remember what exactly ended this admiration. As players of FFVII OG, we know the event in question is the Nibelheim incident, wherein Sephiroth slaughtered the town’s residents, including Cloud’s mother, after learning of his past. The former war hero also severely injured Tifa, whom Cloud presumed dead when he found her in the old mako reactor with a vicious slash on her chest. Cloud is agitated by the gaps in his memory, so the group resolves to follow Sephiroth for answers. When they find him again, Sephiroth causes Cloud to experience a piercing headache with the mere mention of the Reunion. They fight, but Sephiroth is too powerful— he skewers Cloud with the masamune and taunts his unconscious body:

“Sephiroth: A puppet. I won’t kill you. Not yet. Not until you know true despair.
Wol: If you want despair, we got plenty to go around. Palamecia’s full of it.
Sephiroth: Yes, this planet knows suffering. But it is not the world that was promised to me. I must go home. Tell Cloud, if he wants to see me again, he should face his memories. I will await him there, in the land of memory, where it all began. In Nibelheim.”

Sephiroth darkens Cloud’s materia, turning it black. Later, Wol explains to Cloud that Sephiroth stole the light from his materia, taking Cloud’s strength along with it.
Once Cloud has woken up, the group travels to Nibelheim to uncover the truth about Cloud’s memories. Cloud slowly gathers pieces of his past, shown to the player as titled, diary-like text written from various perspectives. Cloud learns the truth about SOLDIER, Jenova cells, Sephiroth, and what happened in Nibelheim. Let’s examine a few of these diary entries:

“A Warrior’s Tale: There's a girl in Nibelheim I think about. Warm. Cheerful. More grown-up than a child. Haven't talked to her much, but she seems nice. She's going to be leading the SOLDIERs to the mountain reactor. Maybe if I get into the survey team I'll get a chance to talk to her? Nah. She's out of my league.”

Young Cloud’s crush on Tifa is on full display! This must be a memory from his time as an infantryman accompanying Zack and Sephiroth to Nibelheim.

“Tale of the Nameless: I drift along in the mako, asleep. Who am I? Who am I? Who am I? Who am I? Give me a number. I… I… I am… The Reunion. The Reunion must happen.”

This entry could be taken from any one of the Nibelheim survivors’ perspectives, as they were all bathed in mako and turned into Sephiroth clones. I would venture to say this is Cloud’s perspective though, given the reference to this iconic line from OG:

“Cloud: Professor... please give me a number. Please, Professor...
Hojo: Shut up, miserable failure.” (disk 2, chapter 2).

The trio encounters Sephiroth near the old Mt. Nibel mako reactor. Because Sephiroth stole the light from his materia earlier, Cloud goes into the confrontation already drained of his strength. However, when Cloud lifts the materia in his hand, it lights up and creates rainbow ripples in the air around him, similar to those seen in Eclipse Contact and Rebirth. Cloud is healed of his injuries: he closes his eyes for a moment, wearing a peaceful expression. Sephiroth is displeased, but recovers quickly:

“Sephiroth: The guiding light… it healed you.

Wol: […] here, near the mako reactor, the materia regained its light. And your strength returned […]. [Sephiroth]’s here so he can steal the power you've stored inside that materia.

Sephiroth, with a short laugh: I have all the power I need. Cloud. What strength you’ve regained is yours. Use it to fight me. It’s time. Let’s decide this, in this land lost to despair. The prize is home. The Promised Land. There to answer the call of destiny.”

With this second evocation of fate, Sephiroth disappears.
Cloud, Wol and Echo find Sephiroth at the Northern Crater. He mocks Cloud for believing the orb in his possession is materia. Sephiroth waves a hand and his signature black and purple fog surrounds Cloud, immobilizing him. Sephiroth claims that the power Cloud regained at the Mt. Nibel reactor was Sephiroth’s all along. Now that it courses through Cloud’s veins, Sephiroth controls him. He calls Cloud his puppet and finishes with the following before the two vanish, leaving Wol and Echo alone:

“Now, let us return. Back to the Promised Land. The time of the Reunion has come.”

After Cloud finally breaks free and defeats Sephiroth with the help of Wol and Echo, the villain makes a final threat:

“Very good, Cloud. You’ve destroyed an illusion. But the time will come to abandon your illusions and face reality. Then, you will know true pain.”

Sephiroth disappears for the last time, his body surrounded by his signature dark fog and the rainbow ripples. A piano rendition of Tifa’s theme begins. Cloud’s orb rises into the air and becomes a crystal, with the same shape and glow as the one we see in Eclipse Contact. The following dialogue is illuminating:

“Cloud: I will fight. The light will lead me where I need to go.

Wol: You sure? Wasn’t that [crystal] Sephiroth’s?

Cloud: I heard Sephiroth's voice, at the end. Inside me. Whatever he put in me, it’s still in there. Someday I’ll settle that score. If I can't avoid destiny, I might as well face it head-on.

Wol: Yeah. That was quite a speech, Cloud. Surprised you made it through without laughing.

Cloud: Yeah, forget I said it. I will too.

Echo: Forgetting won’t make it go away. Even if the words fade from memory, your dream will never disappear. Not until it becomes real.“

The crystal shines as though in response.

“Echo: See? See, that's how the light of hope works. Hope can turn your dreams into reality.

Cloud: Yeah. I guess so. I might forget this world, but I won’t forget hope. And my reality, that’s for me to live.”

Tifa’s theme ends. Cloud approaches the crystal, and disappears in a beam of blinding light. Once Cloud has vanished with the crystal, Aerith’s theme begins playing. A few pale feathers with a slight orange tint (the color of MFF) float down onto the floor where he stood seconds before. The image fades to black. The credits roll, and Aerith’s theme continues all the way through.
Once both the final name in the credits and Aerith’s theme fade, we’re surprised by a sudden, troubling image: Sephiroth appears in a frightening flash, standing amidst the flames of Nibelheim. When his image fades to black, the collaboration title *“Final Fantasy VII x Mobius Final Fantasy”*appears on the screen. The FFVII title is surrounded by the 1997 meteor logo. Then, a flash of light: the titles reappear, except this time, they read “Final Fantasy VII REMAKE x Mobius Final Fantasy”. The new Remake Meteor logo replaces the 1997 version. As soon as these changes to the FFVIItitle and meteor logo occur, Aerith’s theme returns. It plays on until the game ends a few seconds later, the screen fading to black.
III. e) ii. 2) Fact Analysis
The introduction cutscene shows that MFF Cloud travelled from Eclipse Contact to Fatal Calling via Lifestream. It’s unclear how much time has passed in between, but the atemporal nature of the Lifestream makes the question irrelevant. My theory that MFF Cloud has died is corroborated by the way he’s depicted in the opening cutscene: his eyes are closed and his body is limp as the Lifestream carries him.
Eclipse Contact ended with Echo’s claim that Cloud will face his true self and confront his past while he journeys to his Promised Land. This description resembles what Cloud experienced in the OG Lifestream sequence (disk 2, chapter 8). Indeed, Fatal Calling revolves around the same topics the Lifestream sequence addresses: the truth about the Nibelheim incident, Hojo’s experiments, young Cloud’s crush on Tifa, etc. The opening cutscene shows Cloud being transported to his Promised Land and facing his past on the way there, just like Echo said he would.
Let’s now take a long detour to examine the song that plays during the opening cutscene of Fatal Calling: “The Promised Land” theme from Advent Children. The title and general subject of this song are obviously relevant to the cutscene, but there must be more to its inclusion than that. Perhaps the lyrics can help us understand its appearance in the opening cutscene of Fatal Calling. Here are the unofficial English lyrics (translated from the original Japanese lyrics by an anonymous fan and verified by me via DeepL):

“Why do we cling together?
Why do we give punishment to lesser hearts?
The planet did not forgive us
Did not forgive us
The planet did not forgive us
Did not forgive us
The pulse of veins flows through the earth
A faint, faint pulse
Of a heart drawn to death
A gentle life returns to the planet
Is it necessary to sacrifice souls?
Why do we cling together?
Why do we beg for forgiveness
In the Promised Land?” (“‘The Promised Land’ (theme)” by Final Fantasy Wiki).

The song appears to be a regretful lament of human behavior, expressed by the repetition of “Why do we […]?” questions. The behaviors listed are all typically human ones: the terms “[clinging] together” and “[giving] punishment to [the] lesser” express the uniquely human nature of tribalism and the consequences of the fear and hatred it can generate, and “[begging] for forgiveness in the Promised Land” is likely a reference to the human hypocrisy of only feeling sorry for one’s crimes when judgement day arrives. This last line describes a scenario where someone remains passive or ignorant in the face of something important, only to realize its essentiality once it’s too late. The repeated“The planet did not forgive us” lines reflect the fear of being condemned forever because of one’s mistakes, as though the planet is a deity one has sinned against. The lyric describing a pulse in the earth is obviously about the planet being alive— a reference to the Lifestream. But the pulse is faint and weak and the planet is dying, perishing because of mankind’s greed. This is an indictment of mako energy. The line “A gentle life returns to the planet” refers to an innocent’s soul returning to the Lifestream after death, while the next lyric “Is it necessary to sacrifice souls?” protests the “sacrifice” of the planet’s soul energy for mako production. In all this darkness, this song’s mention of “forgiveness in the Promised Land” leaves a modicum of hope for a better place, however meek, even though mankind might not deserve it. The song “The Promised Land” is both a lament of mankind’s ways and a plea for mercy, with religious and/or spiritual undertones. The song’s themes seem to be: the Promised Land itself, regret and shame, the sins and foolishness of mankind, the death of innocents, grief, Cetra spirituality, and a meek, quiet hope despite it all. The most interesting aspect of the song is its antithetical portrayal of death as a thing of both despair and hope, condemnation and salvation, cruelty and mercy, suffering and relief. Maybe we can glean more information about this theme’s significance in the world of FFVII if we examine the contexts in which it appears.
Importantly, the song plays in Marlene’s introductory narration of Advent Children, meaning its themes are related or similar to the film’s. I highly recommend listening and watching it again, even if you remember this iconic segment. Marlene references Aerith’s sacrifice as the image of Cloud lowering her into the water is shown. Note that Marlene says “Sadness was the price to see it end” (2:36) after we are shown Aerith’s death and her subsequent unleashing of the Lifestream (1:49-2:24): Aerith’s innocent life was sacrificed for the planet’s survival. The lyrics “A gentle life returns to the planet” and “Is it necessary to sacrifice souls?” suit Aerith’s situation quite well.
The theme also plays in Advent Children as Kadaj dies in Cloud’s arms (1:45:00-1:47:55), hearing Aerith’s gentle voice and reaching up to take her invisible hand. Here is what Aerith says to him in his dying moments as “The Promised Land” plays:

“Aerith’s voice: Kadaj?
Kadaj: Huh?
The dark sky has gone with Sephiroth. Healing rain starts falling from bright clouds. The rain no longer hurts Kadaj.
Aerith’s voice: You don’t have to hang on any longer.
Kadaj: Mother! Is that…?
Aerith’s voice: Everyone’s waiting, if you’re ready.
Kadaj nods his head slightly in acceptance. He holds out his hand, and slowly evaporates into the Lifestream. Cloud watches […]” (Advent Children).

Kadaj is brought into the Lifestream by Aerith as she provides rain from the Lifestream. All those with geostigma are healed by the rain, and Tifa feels Aerith’s presence as the party celebrates:

“Tifa, looking out at the falling rain […]: Somehow, I knew you were there. Thank you” (Advent Children).

Cloud stands in the rain with a smile —his first in the whole film—, closes his eyes and basks in Aerith’s healing with his face upturned. He is finally at peace:

“Cloud’s expression is one of peace as the [Lifestream] rain patters against him” (Final Fantasy VII Advent Children English script, “[83] Atop the Shinra Building”).

One thing is clear: the track “The Promised Land” accompanies Aerith. It only makes sense, since we’ve seen overwhelming evidence that she is Cloud’s Promised Land, and since she occupies the Lifestream —which some consider the Promised Land as it is where souls go after death— during the events of Advent Children. Note that when the piece plays, Cloud is shown either mourning Aerith and releasing her into the river at the Cetra capital, or basking in her presence, smiling with relief at the peaceful feeling that she’s somewhere near: these two opposing scenes reflect the song’s antithetical portrayal of death.
Additionally, the song’s themes of regret, shame concerning one’s sins and a small hope perfectly describe Cloud’s character arc and feelings in Advent Children. Cloud regrets his inability to save Aerith, which he considers a sin. Further, he only realized how important she is to him once it was too late to tell her. And of course, he harbors a fragile yet important hope that he’ll be reunited with her in the Promised Land:

“‘Can sins ever be forgiven?’ — Cloud asks this to Vincent, who mutters a brief answer. For both of them, ‘I couldn't protect my loved one’ is the sense of guilt that they carry, so their words resonate with weight” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Vincent Valentine”, “In Advent Children”, page 72).

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"’It is my sin that I couldn't protect my loved one’ — under this assumption, Cloud closes off his heart. What will the reunion with Aerith bring him? ‘I... think I want to be forgiven. Yeah, I just want to be forgiven’” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Cloud Strife”, “In Advent Children”, page 40).

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“Cloud, after seeing Aerith’s hand reach for him through the Lifestream: … I think I'm beginning to understand.
Tifa: What?

Cloud: An answer from the Planet… the Promised Land... I think I can meet her... there” (disk 3, chapter 3).

Just as the song and Marlene express in the introduction of the film, Aerith was innocent, and her sacrifice generated great grief. Cloud finally experiences peace when he feels her presence in the healing rain, and he smiles: he’s glad to be with her again, even if it’s only for a brief moment of tangential respite.
The scene depicts Aerith guiding Kadaj into the Lifestream as the song plays, tying her to the concept and theme song of the Promised Land once more. This connection is later solidified by Tifa’s thanks to the late flower girl. All of this evidence shows us that this musical theme is intimately linked to Aerith, as it never plays in her absence. After all, the song speaks of sins, the death of innocents, forgiveness, grief, a small sense of hope, regret and the afterlife: all themes relevant to Cloud’s feelings surrounding Aerith’s death in and outside of Advent Children.
The Remake OST also includes a version of this piece called “The Promised Land - Cycle of Life”. This iteration of the theme begins playing in the wake of the first bombing mission, right after Sephiroth taunts Cloud with his mother’s dying words in Sector 8 (chapter 2). Sephiroth appears to Cloud surrounded by flames, evoking the Nibelheim massacre, and the theme begins playing in the background once he disappears, continuing (13:17-15:30) as Cloud walks through the sector, encountering fires and destruction all around him. This version of the Promised Land theme is meant to emphasize the deaths of the innocent Nibelheim townsfolk and the innocents in Sector 8. This dreadful atmosphere is amplified by the cries of despair that ring all around as Cloud passes by NPC Sector 8 residents. Perhaps the themes of tribalism and mankind’s sin are relevant to this scene as well, since Shinra and Avalanche are two distinct and warring groups whose quarrels, regardless of their necessity, result in the deaths of innocents. The theme of guilt also emerges, reflecting the Avalanche members’ feelings upon seeing the unintended collateral damage of the explosion. “The Promised Land - Cycle of Life” plays until Cloud encounters Aerith on Loveless. So it seems in this scenario, the heavy weight of death and despair is lifted when Cloud meets the lively, cheery Aerith. Once more, Aerith is central to the musical theme of the Promised Land, as well as to the concept itself.
I also noticed that a version of the song plays as Cloud and the party ready to enter the Forgotten Capital to save Aerith in Rebirth’s chapter 14: it truly adds the weight of her upcoming death to the scene.
Back to Fatal Calling, the scene where Cloud regains his strength is quite mysterious. Wol says Cloud’s orb regained its “guiding light” light because of its proximity to the mako reactor. In the moment his strength is replenished, Cloud is shown tilting his head back and closing his eyes: this is reminiscent of the scene in Advent Children when he stands under Aerith’s healing Lifestream rain, feeling at peace. The rainbow ripples shining from the orb indicate that something is crossing the boundaries of worlds. Since the mako reactor pumps up the Lifestream, being near a reactor also means being physically near the Lifestream. This means Aerith’s spirit is within proximity. In my opinion, Aerith was able to heal Cloud from the Lifestream, just like in Advent Children. However, Aerith is not in Palamecia with him: her healing had to travel there through the Lifestream, transcending the boundaries of worlds, hence the rainbow ripples.
Let’s now address the appearance of Tifa’s character theme in Fatal Calling. Since Fatal Calling is all about discovering Cloud’s past in Nibelheim and then in Hojo’s lab, it makes lots of sense for Tifa’s theme to play as the crystal appears. In OG’s Lifestream sequence (disk 2 chapter 8), she’s the one there helping Cloud sort through his past instead of Wol and Echo. Cloud even picks up a piece of his childhood crush on Tifa in Fatal Calling as a shard of his memory. After all, this crush was the catalyst for him joining SOLDIER, and everything that transpired in consequence:

“Cloud: That was the first time I heard about Sephiroth. If I got strong like Sephiroth, then everyone might... If I could just get stronger... Then even Tifa would have to notice me” (FFVII OG, disk 2, chapter 8).

Additionally, it’s fitting that her theme should begin right after Sephiroth speaks of “[abandoning] your illusions and [facing] reality”, considering that Cloud’s false persona was concocted by Jenova using Tifa’s mistaken impressions of Cloud:

“While being tended to by a station worker in the Sector 7 Slum train station, [Cloud] was reunited with Tifa, and using the abilities of Jenova’s cells, formed a new personality” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVII World, “Cloud Strife”, “Cloud Behavior Record, Compilation of FFVII”, page 40).

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“(Image caption:) A new personality takes shape the moment he sees Tifa” (FFVII Story Playback, “Story Check: Tifa’s Flashback”).

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“Tifa (to Cloud): Deep down, you're a pretty nice guy. Didn't see it when we were kids, but...” (Remake, chapter 14).